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also an·a·paest  (ăn′ə-pĕst′)
1. A metrical foot composed of two unaccented syllables followed by one accented one, as in the word seventeen.
2. A metrical foot in quantitative verse composed of two short syllables followed by one long one.

[Latin anapaestus, from Greek anapaistos : ana-, ana- + paiein, pais-, to strike (so called because an anapest is a reversed dactyl); see pau- in Indo-European roots.]

an′a·pes′tic adj.


or an•a•paest

(ˈæn əˌpɛst)

a trisyllabic metrical foot whose syllables are short, short, long in quantitative meter and unstressed, unstressed, stressed in accentual meter.
[1580–90; < Latin anapaestus < Greek anápaistos struck back, reversed (as compared with a dactyl)]
an`a•pes′tic, adj.
an`a•pes′ti•cal•ly, adv.


a foot of three syllables, the first two short or unstressed, the third long or stressed. — anapestic, adj.
See also: Verse


A metrical foot with three syllables, two unstressed and one stressed.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.anapest - a metrical unit with unstressed-unstressed-stressed syllables
metrical foot, metrical unit, foot - (prosody) a group of 2 or 3 syllables forming the basic unit of poetic rhythm
References in periodicals archive ?
How do we scan line 16 at the end of the second stanza: two iambs plus an anapest ("And I have not had my part") or a sequence of anapest, pyrrhic, spondee ("And I have not had my part": a "haven't" in Victorian stays)?
I for one confess to having a quotation from Hunt about the pleasures of a snug room filled with books posted on my office door, and to occasionally deploying bedtime stories such as Prince Caspian or If I Ran the Circus to make classroom points about Shakespearean intertextuality or the anapest.
The anapest, the "march rhythm" (Laban 181) was considered appropriate for more settled dances.
About a particular rhythm in the same piece, Morris writes, "Imagine an anapest in which the weak beats also feel something like spondees (thus, short/short/long)" (p.
Because of the unstressed syllable at the end of the line, the concluding foot is neither anapest (unstressed-unstressed-stressed) nor dactylic (stressed-unstressed-unstressed).
The attraction of it is Byron's display of mastery of versifying that it displays: the perfect handling of the anapest (the "running" meter).
Although it seems to accelerate the measure, the anapest, a variation on this patterning but in triple--or tripe, fitting Addison's mold--time, still requires a systematic oscillation between stresses.
Each of the three eleven-syllable lines has the following meter: unstressed syllable, stressed syllable, unstressed, stressed, unstressed, stressed, unstressed, unstressed, stressed, unstressed, stressed (or three iambs, one anapest, one iamb).
Perhaps they do so for reasons of meter (here in Levin's poem for the sake of the avoidance of the anapest in essentially iambic line with a truncated opening foot).
Iamb, anapest, trochee, dactyl, spondee," he recited, "da dee, da da dee, dee da, dee da da, dee dee.
This is true also of prosody, because there must be harmony between feelings expressed and the metre chosen: so that "drama more closely resembles nature: and reflects changes in emotional stress, the poet passes from one rhythm to another: "hence the use of the anapest for the chorus, of the iamb for dialogue and the trochee for passion;" (48) a spondaic line of Lucretius, for example, because of its long syllables, looks almost monstrous and full of shadow.